This painting, with his depiction of a prostitute remorsefully contemplating her life, showed a subject typical of the Victorian era. Works such as Thoughts of the Past and Rossetti's Found (1855) allowed the genteel gallery-going public to sympathise with societal problems - from a safe distance. It was pictures such as William Holman Hunt's The Awakening Conscience (1854), illustrating a married man and his mistress, which were regarded as threatening to Victorian family life.[2]
Stanhope painted Thoughts of the Past in a studio just above one owned by Rossetti. Although his model is recognisably Pre-Raphaelite, the background of his painting hints at his own individual, artistic style, which was yet to emerge.[3] The river, boats and bridge owe more to the conventional style of the art in the Royal Academy than to that of the Pre-Raphaelite Brotherhood.see image detail below
Detail of left-side background (possibly the Thames docks in London)
^A.M.W. Stirling, "The Life of Roddam Spencer Stanhope, Pre-Raphaelite, a Painter of Dreams," in A Painter of Dreams and Other Biographical Studies (London: Lane, 1916).
^T. Hilto, The Pre-Raphelites, Thames and Hudson (1970). Cf. also Elaine Shefer, "The 'Bird in the Cage' in the "History of Sexuality: Sir John Everett Millais and William Holman Hunt," Journal of the History of Sexuality 1 (1991), p. 475, note 48.
^Elise Lawton Smith, Evelyn Pickering de Morgan and the Allegorical Body, Fairleigh Dickinson University Press (2002).
Further reading
Hilto, Timoth, The Pre-Raphelites, Thames and Hudson (1970).
Robinson, Michael, The Pre-Raphaelites, Flame Tree Publishing (2007).
Todd, Pamela, Pre-Raphaelites at Home, Watson-Giptill Publications, (2001).
